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RAND Europe conducted a series of four seminar games for the Dutch Ministry of Education, Culture and Science to investigate under a variety of possible futures the role of policy in sustaining high quality scientific research. They found: 1) No revolutionary changes are needed to the Dutch policy vision of scientific research, 2) There are two independent values driving the need for scientific research: science as a tool for improving society and scientific knowledge as an inherent good, 3) A lot of the criticism of current science policies results from anxiety arising from uncertainty and co

Studying tacit knowledge with psychodrama. Design of a qualitative research method
Studying tacit knowledge with psychodrama. Design of a qualitative research method
Play and playful methods are used frequently in coaching and in consultancy. This paper answers the question how to study the tacit knowledge of professionals when they use play as a method with their clients or client systems.According to Schön (1983) the practitioner creates in a learning process a virtual world to explore different actions and interventions. In this article it is described how psychodrama can be seen as a virtual world, in which an 'as if'-world can be created that professionals can use to express, verbalize and explore their 'embodied cognition' (Damasio, 2010) about feelings in communication with their clients. It is argued that psychodrama can be conceived of as a research method, that enables to obtain insights into the pre-reflective experiences or tacit knowledge of the interactions between the professional, the client and the play method. It is assumed that this research method could also be used in the study of gaining insight into experiential knowledge in the production of arts and in group dynamics.

In this chapter Rosemarie Buikema elaborates on how decolonial feminist artists and scholars are engaged in knowledge production by means of deploying a poetics of recycling as a way to re-orientate themselves towards the relation between the subject and the object of knowledge, matter and form, signifier and signifed. Buikema analyses the work of El Anatsui and Nandipha Mntambo to illustrate the power of this poetics of recycling and gives the example of an exhibition in which the Museum of Equality and Difference (MOED) re-curated the cultural heritage of abolitionism, giving centre stage to the black, previously enslaved woman Sojourner Truth, rather than the white Dutchman Nicolaas Beets. She concludes that the collective fijield of decolonial feminism envelops engaged scholars and artists like a sensitive skin that continuously responds to the context in which it fnds itself.